BEETHOVEN Fidelio A Guide for Educators winne klotZ / met oPera Fidelio THE WORK An opera in two acts, sung in German Th e jailer Rocco’s new assistant, Fidelio, is everything Rocco could want Music by Ludwig van Beethoven in an employee: Clever, hard-working, and handsome, Fidelio helps around the jail and has even caught the eye of Rocco’s daughter, Marzel- Libretto by Joseph von Sonnleithner, with later revisions by Stephan von Breuning line. But there’s something mysterious about this Fidelio. Where has he and Georg Friedrich Treitschke come from? Why does he so carefully avoid Marzelline’s romantic over- Based on the libretto Léonore, ou L’Amour tures? And what is his connection to the political prisoner being held in Conjugal by Jean-Nicolas Bouilly the jail’s deepest, darkest cell? In fact, “Fidelio” is none other than the First performed November 20, 1805, prisoner’s wife—disguised as a man and desperate to save her husband at the Theater an der Wien, Vienna; revised version fi rst performed from the cruel forces conspiring against him. May 23, 1814, at the Theater am Fidelio, the only opera ever completed by Ludwig van Beethoven, is Kärntnertor, Vienna. a deft ly craft ed story of love and adventure. It is also an overtly politi- PRODUCTION cal work. When Fidelio premiered in 1805—12 years aft er revolution had toppled the French monarchy, one year aft er the upstart young general Jürgen Flimm Napoleon had crowned himself emperor of France, and only one week Production aft er Napoleon’s forces invaded Beethoven’s home city of Vienna—Eu- Robert Israel Set Designer rope was at a tipping point. Th e monarchs that had ruled Europe for Florence von Gerkan centuries were quaking in fear, new ideas of social justice and equali- Costume Designer ty were percolating among the masses, and the continent was entering Duane Schuler Lighting Designer an era of profound change. Like many of his contemporaries, Beetho- ven was deeply invested in politics, and Fidelio’s plot refl ects the seismic sociopolitical developments of the age. PERFORMANCE Fidelio thus represents an opportunity to explore and examine the Metropolitan Opera Presents political landscape of the late 18th and early 19th centuries—and to con- telecast: October 28, 2000 sider how the ideas that shaped this new political world still aff ect civic Karita Mattila Leonore life today. At the same time, the opera is a fascinating window into both Jennifer Welch-Babidge Beethoven’s oeuvre itself and the aesthetic and artistic developments that Marzelline determined how we understand this iconic composer and his sole com- Ben Heppner Florestan pleted opera. Just as the political changes brought about by the Enlight- Matthew Polenzani enment still aff ect modern societies, the aesthetic ideas developed during Jaquino Beethoven’s lifetime continue to guide how we understand and interpret Falk Struckmann classical music. Now, on the 250th anniversary of Beethoven’s birth, this Don Pizarro guide invites students to explore both of these histories, learning about René Pape Rocco not only Beethoven and the world in which he lived but also the ongoing Robert Lloyd impact of 19th-century aesthetics on our modern sensibilities and ears. Don Fernando James Levine Conductor Production a gift of Alberto Vilar HD Live in Schools is supported through a partnership with the New York City MATTILA WELCH- HEPPNER POLENZANI PAPE Department of Education. BABIDGE Photos: erika daVidson / met oPera; winnie klotZ / met oPera (mattila) THE MET: HD LIVE IN SCHOOLS FIDELIO 2 Opera in the Classroom The Metropolitan Opera Educator Guides offer a creative, interdisci- plinary introduction to opera. Designed to complement existing class- room curricula in music, the humanities, STEM fields, and the arts, these guides will help young viewers confidently engage with opera whether or not they have prior experience with the art form. On the following pages, you’ll find an array of materials designed to encourage critical thinking, deepen background knowledge, and empower students to engage with Fidelio’s story, music, and themes. These materials can be used in classrooms and/or via remote-learning platforms, and they can be mixed and matched to suit your students’ FUN FACT individual academic needs. Above all, this guide is intended to help students explore Fidelio Fidelio is the only opera through their own experiences and ideas. The diverse perspectives that Beethoven completed, your students bring to opera make the art form infinitely richer, and we but throughout his life he hope that your students will experience opera as a space where their experimented repeatedly confidence can grow and their curiosity can flourish. with the form. Among WHAT’S IN THIS GUIDE: the operatic subjects he considered were Macbeth, Philosophical Chairs: A series of questions that will introduce Alexander the Great, Attila students to the opera’s main themes while sparking their creativity and encouraging debate the Hun, Romulus and Remus (the mythological Who’s Who in Fidelio: An introduction to the opera’s main characters founders of Rome), and a and their roles in the plot libretto titled Vesta’s Fire Synopsis: A complete opera synopsis for young readers by Emanuel Schikaneder, The Source: Information about the literary sources and/or historical the librettist for Mozart’s events that inspired the opera Die Zauberflöte (The Timelines: One or more timelines connecting the opera to events in Magic Flute). world history Above: Alexander Cuts Deep Dives: In-depth looks at various topics relating to the opera the Gordian Knot by Jean-Simon Berthélemy Active Exploration: Interdisciplinary activities connecting the opera to topics in music, the humanities, STEM, and the arts CURRICULAR CONNECTIONS THROUGHOUT THE GUIDE, YOU’LL ALSO FIND: This guide invites students to explore the opera through: Critical Inquiries: Questions and thought experiments designed to foster Music careful thinking History Fun Facts: Entertaining tidbits about Fidelio English Language Arts German Language and Literature Sociology Debate Law and Criminal Justice Creative Writing Critical Thinking Ethics Social-Emotional Learning Speech and Communication THE MET: HD LIVE IN SCHOOLS FIDELIO 3 Philosophical Chairs Philosophical Chairs is an activity designed to foster critical thinking, active inquiry, and respectful dialogue among students. To play a game of Philosophical Chairs, participants agree or disagree with a series of state- ments, but the game doesn’t end there. Th e most crucial element of the game is what happens next: Participants discuss their points of view and can switch sides if their opinions change during the discussion. (For more tips on using Philosophical Chairs in a classroom or via a remote-learning platform, see the activity description in your Google Classroom.) Each Philosophical Chair topic statement is deliberately open-ended yet ties into a number of the themes present in Fidelio—from persecu- tion and despair to love, loyalty, and sacrifi ce. As you and your students explore and learn about Fidelio, you can return to these statements: What do they have to do with the opera’s story? How might these questions help us explore the opera’s story, history, and themes? THE STATEMENTS • Everyone deserves to be free. • Justice always reigns supreme. erika daVidson / met oPera • Every person should be treated equally before the law. • Follow your heart, not your mind. Keep in mind that the • If you have to choose between faith, hope, and love, the most process of this activity is important is love. just as important as the • Love fears nothing. statements themselves. • Political dissidents must be silenced. Imagine a world in which • Imprisonment is an ethical form of punishment. everyone actively listens to one another and • Light shines even in the darkest of times. engages in respectful • Everyone needs to be rescued at some point in their life. dialogue, honoring others • I would risk my life for love. and showing respect for • Human will and freedom will always triumph over injustice the wide array of diverse and tyranny. ideas and opinions that • Everyone has a soulmate. others hold. Philosophical • Love knows no bounds. Chairs fosters exactly this kind of space, encouraging students to take what they’ve learned and change the global landscape for generations to come. THE MET: HD LIVE IN SCHOOLS FIDELIO 4 Who’s Who in Fidelio VOICE CHARACTER PRONUNCIATION THE LOWDOWN TYPE Leonore leh-oh-NOHR-eh, soprano Leonore’s husband, Florestan, has fee-DEH-lee-oh been arrested and imprisoned for his A noblewoman, disguised as “Fidelio” revolutionary political views. In a desperate attempt to save him, Leonore has disguised herself as “Fidelio” and taken a job at the prison … But between romantic entanglements and a murderous plot, this job will turn out to be much more than she bargained for. Florestan FLOH-res-tahn tenor Although he has committed no crime, the revolutionary leader Florestan has Leonore’s husband been thrown into prison by the cruel (and politically conservative) Don Pizarro. Don Pizarro Don bass-baritone A sadistic tyrant tasked with overseeing pee-DZAHR-roh the prison, Don Pizarro treats the inmates The governor of the prison terribly. He is the reason Florestan has been arrested without cause, and he has decided to cover up this unlawful arrest by making Florestan “disappear.” Rocco ROHK-koh bass A doting father, Rocco cares fi rst and foremost about his daughter Marzelline’s A jailer happiness. But he is easily swayed by Don Pizarro’s cunning schemes, and when he agrees to “take care of” Florestan, Leonore must fi nd a way to stop him before he can go through with Don Pizarro’s plan. Marzelline mahr-tsehl-LEE-neh soprano Rocco’s daughter is in love with Jacquino— until the newcomer Fidelio catches her eye.